A Quote by Anh Do

I'm not a megaphone sort of guy. I just let my art talk for itself. — © Anh Do
I'm not a megaphone sort of guy. I just let my art talk for itself.

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When I grew up, a director was Cecil B DeMille, a guy sitting down with a megaphone speaking. He was the voice of God, the image of God. When I went to start making docs, I quickly turned the megaphone to my ear not to my mouth. It's more about funneling in the words and listening as doc filmmaker.
Sometimes it is better not to talk about art by using the word "art". If we just act with awareness and integrity, our art will flower, and we don't have to talk about it at all.
The educational aspect of art shows has become overbearing: some of exhibits can leave you bleary from trying to read the walls. Presumably a piece of art is timeless and it can say something to us. You are taking away the right of art to talk for itself.
I've never been the sort of guy who wants to emulate this guy or that guy. I just try to forge my own path.
It's just my character, naturally. I don't really talk that much. It's just who I am. I just back it up in the ring. There is no need to talk... I'm not the guy who rambles.
I had a caricature view of the guy in the beret with the big megaphone­­, but a movie director and writer was beyond my role of understanding.
I was an art student when I was a boy, and as an art student you don't have to talk to anyone - you just have to paint really wonderful paintings. It's very unlike being an actor, where you have to talk all the time.
When I was younger, I was emulating David Letterman. David Letterman would yell out of his office window with a megaphone, and the next thing I'm doing is standing on the roof of a parking garage with a megaphone.
An artist attunes to what things are, which means sort of listening to the future, which is just how things are - I think time is a sort of liquid that pours out of hatpins, underground trains, salt crystals. So a work of art is also listening to itself, because what it is never quite coincides with how it appears, too.
I just had such a blast coming up with this corporate dweeb [in the Sex Tape], a sort of nerd who was also doing coke and listening to death metal and was obsessed with Walt Disney art. I just felt it was a type of guy you hadn't really seen before, and I was so happy with how it came out.
There are many museums dedicated to technology, artistic endeavors, music, and that sort of thing. From that perspective, I think games really do have a place as a kind of collaborative art or a synthesis of all these various aspects into a whole, and that, in itself, can be perceived as art.
It's not like I think my art is inspirations from icons strung together. They're just sort of people who others talk about. I am definitely interested in the masters of different genres, they're talented and popular for a reason.
Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
Being a straight white guy in his, like, early twenties - there's some sort of thing about it. A sort of privilege, a sort of anger or something. You just say some really stupid things.
Before, early in my career, it was always just go out there and beat the next guy up. Whoever they put in front of me,just go beat him up. Everything else would take care of itself. You want more money? Go beat the next guy up, it will take care of itself. You want better sponsors? Go beat the next guy, it will take care of itself.
I am the sort of guy who does go to modern art shows.
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